Adobe Premiere Pro CS5 What’s New
What’s included:
• Adobe Premiere Pro CS5
• Adobe OnLocation CS5
• Adobe Encore CS5
• Adobe Device Central CS5
• Adobe Bridge CS5
• Adobe Media Encoder CS5
Adobe Premiere Pro CS5 is also
available as a component of Adobe
Creative Suite® 5 Production
Premium and Adobe Creative Suite
5 Master Collection.
Adobe Creative Suite 5 Production
Premium combines:
• Adobe Premiere Pro CS5
• Adobe Aer Eects® CS5
• Adobe Photoshop® CS5 Extended
• Adobe Illustrator® CS5
• Adobe Flash® Catalyst™ CS5
• Adobe Flash CS5 Professional
• Adobe Soundbooth® CS5
• Adobe OnLocation CS5
• Adobe Encore CS5
Additional components:
• Adobe Dynamic Link
• Adobe Bridge CS5
• Adobe Device Central
Integrates with new
Adobe CS Live online services*
Craft your story efficiently from script to editing through final delivery with
Adobe Premiere Pro CS5 software, the native 64-bit, high-performance video production
solution that comes with Adobe OnLocation™ CS5 and Adobe Encore® CS5 software.
Adobe Premiere Pro CS5 sets a new standard in high-performance, responsive editing. Work
dramatically faster thanks to the revolutionary native 64-bit, GPU-accelerated Mercury Playback Engine
that provides rock-solid performance and stability so you can smoothly work at 4K and higher
resolutions. Open projects quickly and refine multilayer, effects-rich sequences without rendering. Batch
encode complex projects in the background while you continue your creative work.
Turn project plans into efficient productions using an integrated script-to-screen workflow. Start by
developing your script in Adobe Story, a new Adobe CS Live online service* that lets you collaboratively
write scripts and create metadata-rich, production-ready assets with new efficiency. Script information is
automatically transformed into relevant metadata to quickly produce shot lists in Adobe OnLocation
CS5; rough cuts in Adobe Premiere Pro; and searchable, engaging experiences for the web. While you’re
on set, use OnLocation to calibrate, monitor, capture footage directly to disk, andnew in CS5log
footage from tapeless cameras. As you log, add metadata that increases productivity at every stage in
the production process.
In post-production, get to work without delay thanks to native support for all the latest camera formats,
such as RED, P2, XDCAM, AVC-Intra, and AVCHD, as well as Canon and Nikon DSLR cameras, and use
innovative metadata capabilities such as enhanced Speech Search and Face Detection to find assets and
speed up editing. Adobe Premiere Pro CS5 lets you freely mix and match any format and create high-
quality editorial effects directly in the timeline, with hundreds of nonlinear editing features optimized for
creative productivity.
Tight integration with other Adobe Creative Suite CS5 Production Premium components such as
Adobe After Effects CS5 and Adobe Flash CS5 Professional, along with enhanced interoperability with
Apple Final Cut Pro and Avid editing software, lets you put the powerful, flexible toolset in
Adobe Premiere Pro CS5 to use in any production pipeline. To speed the creation of DVDs and Blu-ray
Discs, Adobe Dynamic Link gives you the ability to open Adobe Premiere Pro CS5 sequences directly in
Adobe Encore CS5 without intermediate rendering. And with Encore you can turn your DVD and Blu-ray
Disc projects into searchable web DVDs, complete with motion menus, slide shows, and captions.
Adobe Media Encoder, now with an enhanced user interface, makes delivering your video for broadcast,
device, film, and mobile distribution efficient.
Adobe® Premiere® Pro CS5
Accelerate production with the all new Adobe Mercury Playback Engine
*Adobe CS Live online services are complimentary for a limited time. See the last page for details and limitations related to all Adobe
online services.
Contents
Who uses Adobe Premiere Pro? 2
Top new features of Adobe Premiere Pro CS5 3
Industry-leading performance with the Mercury Playback Engine 3
Expanded native tapeless workflows 4
Open workflows with Apple Final Cut Pro and Avid editing software 6
Faster editing with metadata 7
Cutting-edge storytelling with new Adobe Story (available separately) 8
Small improvements that make a big difference 9
Integration with CS Review 10
Efficient production and tapeless camera support in Adobe OnLocation CS5 11
Ultra keyer 13
Streamlined encoding with revamped Adobe Media Encoder 14
Searchable web DVDs and other enhancements in Adobe Encore CS5 15
Still using Adobe Premiere Pro CS3? 16
About Adobe Systems Incorporated 16
System requirements 17
Adobe Premiere Pro CS5 and Adobe Encore CS5
17
Adobe OnLocation CS5 17
2
Adobe Premiere Pro CS5 What’s New
Top features
• Industry-leading performance and
stability with the Mercury Playback
Engine (Page 3)
• Expanded native tapeless
workows (Page 4)
• Open workows with Apple Final
Cut Pro and Avid editing soware
(Page 6)
• Faster editing with metadata
(Page 7)
• Script-to-screen workow with
Adobe Story* Integration (Page 8)
• Small improvements that make a
big dierence (Page 9)
• Integration with CS Review*
(Page 10)
• Ecient production and tapeless
camera support in Adobe
OnLocation CS5 (Page 11)
• Ultra® keyer (Page 13)
• Streamlined encoding with
revamped Adobe Media Encoder
(Page 14)
• Searchable web DVDs and other
enhancements in Adobe Encore CS5
(Page 15)
With Adobe Premiere Pro CS5, you can:
Improve your editing workflow. Edit HD as fluidly as SD, thanks to the revolutionary Mercury
Playback Engine, which delivers native 64-bit operating system support, GPU acceleration, and
other performance and stability enhancements. Capture and log footage from virtually any camera
and save time with the industry’s best native tapeless workflows, which eliminate transcoding and
rewrapping, preserving the pristine quality of your footage. Boost productivity with timesaving
features suggested by users. With intuitive editing tools and innovative new metadata features such
as automatic face detection, you can edit even more efficiently.
Collaborate more effectively. Bring the creative benefits of Adobe tools to you project and work in
an open, extensible post-production environment, thanks to easy project and content exchange
with other Adobe software, Apple Final Cut Pro, or Avid editing software. Develop scripts
collaboratively with Adobe Story, a new CS Live online service*. Manage your shoot and streamline
logging by importing scripts from Adobe Story to capture metadata in Adobe OnLocation. Adobe
Premiere Pro integrates with another CS Live online service, CS Review, which makes it easy for
clients and teammates to review and comment on works in progress. You can upload your project
from Adobe Premiere Pro, and then see your client’s comments as markers right in your sequence.
With another CS Live online service, Acrobat.com, you can share project data.
Deliver more engaging experiences practically anywhere. Create with confidence as you produce
video optimized for distribution to practically any medium. Save time by using Adobe Media
Encoder to deliver your video project in all of the major video formats in a single batch encoding
operation. With Adobe Encore CS5, create a more engaging experience with web DVDs that
automatically include a search interface. The same metadata that speeds editing helps audiences
discover your content online.
Who uses Adobe Premiere Pro?
Video and film editors and other post-production professionals use Adobe Premiere Pro to assemble
compelling stories and other types of video content from live-action video footage, still and animated
images, sound, and music. The types of projects they create range from short-form commercials and
videos to long-form broadcast programming, sporting and event coverage, and corporate and feature
films. Adobe Premiere Pro offers a comprehensive production toolset and an innovative script-to-
screen workflow that speeds every stage of production. Timesaving integration with other essential
Adobe software, including Production Premium components, as well as with other NLEs (Final Cut Pro
and Avid editing software), brings the creative benefits of Adobe tools to every project.
Motion graphics designers and visual effects artists turn to Adobe Premiere Pro for video ingest and
editing. These creative professionals will especially appreciate being able to work in real time on
footage at HD and film resolutions, thanks to the Mercury Playback Engine and broad format support
including high-quality 10-bit, 4:2:2 mastering and archiving codecs. Plus, tight integration between
After Effects and Adobe Premiere Pro saves time: when used together as part of Production Premium,
the now faster Dynamic Link makes it easy to send compositions to Adobe Premiere Pro sequences,
where changes made in After Effects show up immediately in the Adobe Premiere Pro timeline.
*Adobe CS Live online services are complimentary for a limited time. See the last page for details and limitations related to all Adobe online
services.
3
Adobe Premiere Pro CS5 What’s New
Top new features of Adobe Premiere Pro CS5
Industry-leading performance with the Mercury Playback Engine
The ability to edit HD and higher resolution footage in real time without having to first render it or
lower its resolution by transcoding or rewrapping it with an intermediate codec is a post-
production dream come true. Adobe Premiere Pro CS5 brings that dream to the desktop with the
revolutionary Mercury Playback Engine.
The Mercury Playback Engine provides native 64-bit, GPU-accelerated support for Mac and
Windows, yielding dramatic improvements in performance and stability. You can open projects
faster, scrub through HD and higher resolution projects fluidly, and handle long-form content and
effects-heavy sequences more reliably. Play through most common transitions and effects without
waiting for rendering. Plus, you can usually see results instantly when performing tasks such as
keying with the new Ultra keyer, applying Gaussian blurs and blend modes to footage, applying
multiple color corrections, and working with numerous other effects. The Mercury Playback Engine
also makes rendering for final output much faster than before.
The Mercury Playback Engine works hand in hand with NVIDIA® CUDA™ technology that leverages
the parallel compute engine in NVIDIA graphics processing units (GPUs) to solve many complex
computational problems in a fraction of the time a CPU would take to perform the same task.
In addition, the Mercury Playback Engine takes multitasking to a new level. Utilizing the GPU to
accelerate effects, rendering, and other processor-intensive tasks frees your system’s CPUs to
handle background tasks. The enhanced, native 64-bit system architecture in Adobe Premiere Pro
CS5 lets you use all available system RAM (up to 128GB in today’s computers), so you can run
multiple software applications at the same time. This opens the door to powerful timesaving,
multitasking workflows. For example, you can simultaneously edit a very complex, effects-laden
project in Adobe Premiere Pro while your system’s CPUs render an elaborate After Effects
composition in the background.
Supported NVIDIA
graphics cards
• Quadro CX (Windows)
• Quadro FX 3800 (Windows)
• Quadro FX 4800 (Windows
and Mac)
• Quadro FX 5800 (Windows)
• GeForce GTX 285 (Windows
and Mac)
Please see www.nvidia.com
for system requirements and
compatibility.
e list of graphics cards that
are compatible with Adobe
Premiere Pro CS5 is updated on
a regular basis. For an up-to-
date list of supported cards,
please see www.adobe.com/
go/64bitsupport.
Adobe Premiere Pro CS5
sets a new standard in
high-performance
editing thanks to
the revolutionary
Mercury Playback Engine,
with or without
GPU acceleration.
Without GPU acceleration
e Mercury Playback Engine is being used on a multicore system
with nine layers of DVCPROHD footage being played back in real
time, with color correction and other eects applied. All CPU cores
are being utilized equally, and the timeline can play back smoothly.
With GPU acceleration
When you add GPU acceleration, performance gets even
better. Using GPU acceleration, the same nine-layer timeline
drops the CPU usage down to 5–10%. Even with this
complicated timeline, more layers and effects could be
stacked without affecting real time playback.
4
Adobe Premiere Pro CS5 What’s New
If you’re working on a computer or laptop that is unable to play back challenging footage such as
4K RED files or sequences with extensive effects, Adobe Premiere Pro CS5 includes the ability to
adjust the playback resolution of your video in the Source Monitor or Program Monitor. Separate
Playback and Pause resolutions give you more control over monitoringwith higher resolution
footage such as 4K, you can set playback resolution to a lower value for smooth performance (for
example ½, or resolution), and set Pause resolution to Full. This allows you to quickly check
the quality of focus or edge details when playback is pauseduseful for when you don’t have the
luxury of an on-set HD monitor.
Expanded native tapeless workflows
Adobe Premiere Pro CS5 builds upon the industry’s best native tapeless workflow by offering new
native format support for Sony XDCAM HD 50, Panasonic AVCCAM, DPX, and AVC-Intra. Native
support for RED R3D files has been enhanced, and native support for video shot with Canon,
Nikon, and other DSLR cameras added. These newly supported formats expand existing support
for variants of Panasonic P2; Sony XDCAM, XDCAM EX, and XDCAM HD; HDV; and AVCHD.
When you work with tapeless media in Adobe Premiere Pro, you gain two key advantages. First,
you save time, because with native support you’re able to start working with footage
immediatelysometimes directly from the cameraand thus eliminate the time-consuming
transcoding and rewrapping process typically required when you use the same media in other
NLEs. Second, you maintain the pristine image quality of your source footage throughout the
production process. Native support also means that the metadata coming from the camera
is retained.
Since its introduction in the second half of 2008, Sony XDCAM HD 50 has become the
preferred format used to shoot many popular television shows. Also known as XDCAM HD422,
XDCAM HD 50 delivers 1920x1080 or 1280x720p video at a variety of frame rates. The
intra-frame format is a 4:2:2, 50Mbps variant of MPEG-2 long-GOP compression. You can use
Adobe Premiere Pro to natively edit XDCAM HD 50 footage.
AVC-Intra provides production-quality, full-frame HD video at bit rates normally associated with
ENG (Electronic News Gathering). Developed by Panasonic, AVC-Intra offers twice the compression
efficiency of DVCPROHD. The intra-frame codec provides high-quality 10-bit encoding in two
modes: AVC-Intra 100 for full 1920×1080 4:2:2 mastering and archiving, and AVC-Intra 50 for
DVCPROHD-comparable quality at half the bit rate, doubling the record time on a P2 card and
other storage devices. With Adobe Premiere Pro CS5, you can natively edit AVC-Intra footage and
use Adobe Media Encoder to export AVC-Intraavailable as a Panasonic P2 Movie output option.
The latest DSLR cameras from Canon, Nikon, Panasonic, and others include the ability to shoot
full-frame 1920x1080 or 1280x720 HD video. Thanks to their exceptional image quality, low-light
capabilities, and the fact that you can shoot using standard 35mm DSLR lenses that give your
footage the look of expensive film-based cameras, these DSLRs are finding their way into video
productions at all levels. New in Adobe Premiere Pro CS5 is the ability to import and natively edit
video shot with the Canon 5D Mark II and 7D, as well as video shot with the Nikon D90, D300s, and
D3000 DSLR cameras. Similarly, you can import and natively edit AVCHD video shot with
Panasonic DMC-GH1 DSLR cameras, as well as AVCHD video from Sony, Panasonic, and Canon
video cameras. Use the Media Browser panels in Adobe Premiere Pro and OnLocation to
conveniently browse clips and view metadata, including metadata from Panasonic
AVCCAM cameras.
RED Digital Cinema cameras capture extremely high-resolution raw files, enabling digital
production workflows that allow you to make image-processing decisions throughout the
post-production process. Adobe Premiere Pro provides full native support for RED R3D files, allowing
you to import them directly without transcoding, rewrapping, or installing additional software. Because
the files you import contain raw sensor data, you edit footage that is as close to what the camera
captured as possibleenabling you to work nondestructively on the color and look of your projects.
With CS5, you can work with content in all common RED R3D file permutations, including 2K, 3K, 4K,
Expand your creative toolset
Open up more creative possibilities
as you tackle a broad spectrum of
planning, production, and post-
production tasks with Adobe
Creative Suite 5 Production Premium.
Get more creative power at an
appealing price. In addition to
Adobe Premiere Pro, Encore,
and OnLocation, CS5 Production
Premium oers the latest versions
of Adobe Aer Eects, Photoshop
Extended, Flash Professional, Flash
Catalyst, Soundbooth, and Illustrator.
Move up to Production Premium to:
Create rich visual effects. Aer
Eects gives you everything you
need to create opening titles,
animated graphics, and visual
eects, as well as to create and
move images and video in 3D.
Move between components faster.
Breakthrough native 64-bit
performance in both Aer Eects and
Adobe Premiere Pro gives you faster
Dynamic Link, which eliminates
intermediate rendering for more
iterations in less time.
Create eye-popping 2D and 3D
assets. Prepare photographs, maes,
backgrounds, and easy 3D extrusions
in Photoshop Extended with native
64-bit support and GPU acceleration.
Design interactive experiences.
Create video portfolios and other
engaging interactive media with
easy-to-use Flash Catalyst or with the
full power of Flash Professional.
Create and edit audio with ease.
Quickly polish voice-overs, customize
music, and remove noise from audio
in Soundbooth.
For more information, see Adobe
Creative Suite 5 Production Premium
What’s New.
5
Adobe Premiere Pro CS5 What’s New
4K HD, 16x9, and 2x1, using a number of different frame rates. Best of all, the Mercury Playback
Engine enables real-time scrubbing and playback of RED R3D 4K and higher resolution files.
The new RED R3D Source
Settings dialog box in
Adobe Premiere Pro CS5
offers extensive control
over the look of RED RAW
footage. In conjunction
with the ability to change
color settings per clip, you
can save combinations of
adjustments as custom
presets, which can be
applied to individual or
multiple clips. The controls
in the Source Settings
dialog box include:
• Debayer Detail. Vary the
level of detail extracted
from the image sensor
• Chroma. Denoise the
red/blue channels
• OLPF Compensation.
Eliminate color Moire
fringes by controlling the
optical low-pass lter
(OLPF) that renes edge detail
• Maximum Bit Depth. Use this global seing to choose between 32-bit oat and 8-bit
• White Balance. Manipulate Kelvin, Tint, and Saturation levels
• Timecode. Select the timecode track to use from the R3D le
• Color Seings. Adjust the ISO seing, exposure, red, green, blue, brightness, contrast, and
highlight levels
• Color Space. Select the desired color space from among Camera RGB for RAW, Rec 709 the
standard color space for HD, and REDspace that is a more saturated variation of Camera RGB
• Gamma Curve. Override the gamma curve selection using a number of preset gamma curves
• User Curve. Use a custom curve created by the camera operator
New DPX (Digital Picture eXchange) file import and export offers users the ability to natively
edit with 10-bit, uncompressed digital intermediate (DI) files. DPX provides a great deal of
flexibility in storing color and other information, making it a popular film output format. It is
also used for sharing projects between production facilities. In addition, DPX export gives you
the ability to output 4K content directly from Adobe Premiere Pro without having to go
through After Effects. (Previously, the recommended workflow for outputting high-resolution
RED projects was to send Adobe Premiere Pro sequences to After Effects where they could be
output as DPX, Cineon, or other 10-bit formats.)
Get the best possible rendering from RED RAW footage, preserve maximum image
quality by applying nondestructive adjustments, and achieve exactly the look you
want with the RED R3D Source Seings dialog box in Adobe Premiere Pro.
6
Adobe Premiere Pro CS5 What’s New
Open workflows with Apple Final Cut Pro and Avid editing software
Whether working solo or in a workgroup that’s involved in a large multistudio production, industry
professionals typically use a variety of production and post-production tools on virtually every
project. Moving media and sequences between tools in complex production pipelines often
requires format conversion, specialized plug-ins, tedious workarounds, or a lot of manual work to
recreate elements that don’t transfer. The ability to share projects and assets between Adobe
Premiere Pro and Final Cut Pro, as well as between Adobe Premiere Pro and Avid NLEs such as
Media Composer, means you can share files and timelines without conversion or rendering,
preserving commonly used effects and transition
.
When Adobe Premiere Pro is installed as part of
Production Premium, Final Cut Pro or Avid projects
can be easily exchanged between Adobe Premiere
Pro and Apple Final Cut and between Adobe
Premiere Pro and Avid editing softwaremaking it
easy to take advantage of other Production Premium
components in your workflow:
• Streamline the process of creating interaction
and navigation triggers in your videos for use in
Adobe Flash Professional projects. Bring your
Final Cut Pro or Avid projects into Adobe Premiere
Pro, and then add timeline markers that can be
embedded as cue points when you export FLV les
• Get a beer Aer Eects workow. Import Final Cut Pro or Avid projects into Adobe Premiere
Pro and then use Dynamic Link to send the sequence through to Aer Eects, where you can
create opening titles, animated graphics, and world-class special eects. Beer yet, when Adobe
Premiere Pro and Aer Eects are used as part of Production Premium, you can use Dynamic
Link to see your Aer Eects compositions directly in the Premiere Pro timeline, in context with
the rest of your edit, without renderings
• Enjoy a smooth Blu-ray Disc authoring workow. Bring you Final Cut Pro or Avid projects into
Adobe Premiere Pro, and then use Dynamic Link to send the sequence directly to Encore, where
you can author a Blu-ray Disc, DVD, or web DVD. Timeline markers in the sequence act as chapter
markers in Encore
• Leverage the robust Adobe metadata workow. Use Speech Search and other metadata
features to add intelligence to your assetsmetadata can be used downstream to engage
viewers in new ways, from web-based DVDs to rich Internet experiences
Open workflows give video pros more flexibility when working in large teams, and they make
it easy to tap into the power of Production Premium on any project.
Expanded interoperability between
Adobe Premiere Pro and third-party NLEs lets you
explore the creative benets of Adobe Premiere Pro
and other Adobe tools in any production workow.
Open audio-editing workows
You can expand your Adobe
Premiere Pro audio-editing workow
with the ability to export audio
as an Open Media Framework
(OMF) le, which can be imported
into Digidesign Pro Tools audio
workstations. Adobe Premiere
Pro also offers tight integration
with Adobe Soundbooth CS5, the
audio-editing solution designed
for video professionals. This allows
you to use Pro Tools for your more
complex audio needs, bring the
final music mix back into Adobe
Premiere Pro, utilize Soundbooth
to clean up and enhance dialogue
tracks, and quickly add sound
effects and atmospheric audio
cues to your projects. The Edit In
Adobe Soundbooth command in
Adobe Premiere Pro lets you send
assets directly to Soundbooth.
After your edits are complete, the
files automatically update in the
Adobe Premiere Pro Timeline panel.
7
Adobe Premiere Pro CS5 What’s New
Faster editing with metadata
Metadata plays an essential role in helping efficiently manage and locate media assets throughout
the production process. It lets you automatically track crucial details such as where a clip was shot,
who’s in it, and whether you have the rights to use it in your project. Innovative new metadata
features enable the new script-to-screen workflow in Adobe Premiere Pro, bringing new
efficiencies to the editing and production process.
Metadata can be created automatically and supplemented manually at any stage of production. For
example, at the start of your project, a script written with Adobe Story, a new CS Live online
service*, captures vital information and stores it as metadata that can be imported into OnLocation.
While you’re recording footage directly to disk, OnLocation automatically captures all of the
important metadata coming from the camera. Comments you make in the OnLocation Shot List
are also stored with each clip as metadata. When clips are imported into Adobe Premiere Pro and
other components of CS5 Production Premium, metadata is retained in each application.
During post-production, metadata streamlines searching for clips while you edit. With metadata,
you can quickly locate media assets and clips by filename, date, time, camera setting (such as
resolution or frame rate), shot location, or any information you’ve added to your asset or clip. And
when you run Speech Search in Adobe Premiere Pro, you can transcribe spoken dialogue that is
converted into metadata, making locating particular footage simple.
Speech Search metadata. Speech Search is now more accurate, because you can now import
reference scripts to assist the speech-to-text analysis process. If your production started with a
written script that matches the spoken dialogue in your clips, you can use Speech Search to
timecode-align the written script and spoken dialogue so they match exactly. Documentary
filmmakers and others whose productions don’t start with a written script can use reference
scripts, manuals, text books, notes, or other written materials containing words and dialogue
similar to the project’s recorded content or manually created transcriptions of interview sound
bites. In addition, multiple processor cores in your CPU accelerate the speech-to-text process,
making it faster than before.
Best of all, by marking In and Out points in the speech analysis text and then using the Insert
or Overlay button to cut the clip into the timeline, you can quickly create preliminary rough
cuts—even without paying close attention to the content’s details. Post-production
professionals and anyone working in quick-turnaround operations, such as television news-
gathering or same-day event video edits, can benefit from this time-saver.
Face Detection metadata. Save even more time with Face Detection—another content-analysis
process you can run on clips in your project to quickly locate those with human faces in them.
Because these clips are more likely to contain spoken dialogue, Face Detection eliminates the
painstaking process of having to play through each clip in a project to find interview sound
bites. (Face Detection should not be confused with facial recognition—that is, the ability to
recognize a specific person’s face within footage.)
New metadata templates in Adobe Media Encoder help ensure that only metadata that has been
cleared for distribution gets included with your projects at final output. Finally, when your project is
delivered online, the same metadata you used to edit the project more quickly makes it easier for
your audience to find your content. And when you deliver your DVD and Blu-ray Disc projects as
web DVDs, metadata makes the web DVD content automatically searchable.
* Adobe CS Live online services are complimentary for a limited time. See the last page for details and limitations related to all Adobe
online services.
About metadata
Metadata describes the content or
characteristics of a le, and is stored
using the Extensible Metadata
Platform (XMP) standard. With XMP
metadata-enabled Adobe Creative
Suite 5 Production Premium compo-
nents, meaningful descriptions and
titles, searchable keywords, and
copyright information can be auto-
matically captured and embedded in
the file using a format that is easily
understood by you as well as by
software applications and hardware
devices. And as an open-source and
extensible technology, XMP is freely
available to developers and provides
industry partners with standards-
based building blocks to develop
optimized workflow solutions.
8
Adobe Premiere Pro CS5 What’s New
* Adobe CS Live online services are complimentary for a limited time. See the last page for details and limitations related to all Adobe
online services.
Cutting-edge storytelling with new Adobe Story (available separately)
Adobe Story, a new CS Live online service* for scriptwriting, can help accelerate the process of
turning screenplays into finished media. Available separately from Production Premium, the tight
integration of Adobe Story with CS5 Production Premium extends the benefits of Adobe Story
into broader parts of the production and post-production workflow.
As a screenwriting tool, Adobe Story enables you to craft your scripts from virtually anywhere in a
safe offline or online writing environment. You and your colleagues can collaboratively co-write
and edit scripts at any time and assign roles to various team members, such as read-only mode or
review-only mode. Adobe Story makes it easy to write and maintain your script in standard
industry format, while also offering the option to import existing screenplays or sample scripts
from Final Draft, Movie Magic Screenwriter, and Microsoft Word.
Adobe Story offers a Project view to help you organize your work by displaying all of your scripts,
character biographies, reference links, and free-form documents in one place, making it easy to
manage several projects simultaneously. As you develop a script, Adobe Story keeps track of
character names, locations, and more using the Smart Type feature.
When you find yourself inserting commonly used script elements, Smart Type automatically
displays these common selections to help you populate content more efficiently. Elements used
in the script’s formatting are captured as metadata to help streamline production and post-
production.
Speed production and post-production with a script-to-screen workflow. To streamline
production, import an Adobe Story script into Adobe OnLocation, the powerful direct-to-disk
recording, logging, and monitoring software. Metadata created in Adobe Story* helps you
manage your shoot with automatically generated shot lists and efficient logging. Additionally,
e Outline panel in the
Authoring view provides a
high-level overview of
your script.
e Formaing toolbar provides familiar
word-processor-like controls. In addition,
Story supports keyboard commands for fast,
ecient navigation.
Use up to six color-coded
dots to identify the
presence of characters in
your scenes. View the
name of the character by
placing the cursor over a
character dot.
Adobe Story
automatically
numbers each
scene.
e Tagging panel lets
you manually identify
individual elements and
production
requirements. ese can
be color-coded, as
shown in the script
above, or displayed in
boldface.
Scene duration is
calculated based
on preset or
custom formulas.
9
Adobe Premiere Pro CS5 What’s New
dialogue from the script and other metadata is embedded into the shots you log in OnLocation.
When you later import your footage into Adobe Premiere Pro, you can synchronize your Adobe
Story script to that footage, making it possible to quickly produce preliminary rough cuts based on
the dialogue transcript. Further, metadata in the assets are retained throughout the production
workflow and can be passed through to Encore, where it can be used as the basis for DVD and
Blu-ray Disc chapter titles. When you deliver your Encore projects as web DVDs, the script
metadata makes the web DVD content searchable.
Turn video assets into engaging online experiences, with or without a script. As an alternative to
starting with a screenplay, you can also use Adobe Premiere Pro integration with Adobe Story* to
turn previously completed or unscripted video assets into engaging online experiences. This is
useful for unscripted content such as documentaries, corporate productions, and live events such
as conferences and lectures.
To do this, create a transcription of your finished video, which functions much like a script. Next,
create a new Adobe Story project, and then copy and paste that transcription into it, producing a
new Adobe Story script. Using the text from the transcription, you can then break the text into
scenes that serve as major points in the video, such as key themes in a lecture or particular proof
points in a corporate video. You then add additional metadata for each section, for example, a
short description of that scene’s key points (e.g., “This section of the lecture covers Newton’s laws
of mechanics”).
When you’re satisfied with your segmented video, for better online navigation, you can create
subclips from the finished video to match the scenes you’ve outlined. Then import your Adobe
Story script and the subclips into OnLocation. The script data automatically creates placeholder
clips that you can then attach to the clips from the finished asset. In OnLocation, you can also add
additional metadata to your clips, such as shot-specific metadata and shot locations to your clips.
Next, you can import the OnLocation project into Adobe Premiere Pro, and run an analysis to
synchronize the script to footage to enable full, time-accurate searchability. You can edit the clips
as you normally would, and Adobe Premiere Pro keeps everything lined up correctly, so that when
you render the video using Adobe Media Encoder, for example into F4V or FLV, the metadata-rich
assets are ready to be searched using Encore’s searchable web DVD features.
Small improvements that make a big difference
Take advantage of user-requested enhancements and enjoy more efficient workflows. For
example, with Adobe Premiere Pro CS5 you can:
• Create a new sequence from footage by simply dragging a clip onto the New Sequence buon in
Adobe Premiere Pro. is convenient feature helps save time by automatically matching sequence
seings and footage aributes
• Use automatic scene detection to create separate clips from HDV tapes
• Import assets from DVDs
• Quickly export a still video frame from the Program Monitor or Source Monitor using the Export
frame buon without having to initiate an export with Adobe Media Encoder
• Set the Source Monitor and Program Monitor to display the rst eld, second eld, or both elds
for interlaced footage
• Edit more eciently with a keyboard shortcut that lets you extend the duration of a clip on a
targeted track to the current position on the timeline
• Clean up your sequences quickly with commands for nding and removing gaps between clips on
the timeline
10
Adobe Premiere Pro CS5 What’s New
Integration with CS Review
Clients, project managers, and members of production teams don’t always work in the same
location, in the same city, or even in the same country. CS Review, a new CS Live online service*,
provides a fast and simple way for teammates and clients to take part in reviewing video
sequences, using just a web browser and easy-to-use annotation tools.
Thanks to its integration with Adobe Premiere Pro, unlike other services that offer online review of
creative content, CS Review lets you publish a review to the web directly from within Adobe
Premiere Pro. Encode sequences in the background and automatically upload them for review and
collaboration. When comments are made by colleagues and clients viewing the content in a web
browser, comments are dynamically captured and displayed directly in the new Review panel in
Adobe Premiere Pro alongside the sequence they relate to. Jump directly to comments in the
timeline to efficiently match feedback to specific elements and keep track of review comments in
one location.
Because reviews are accessed simply through a web browser, CS Review brings your teammates
and clients into the review process in near-real time. When you need to view or archive reviews
offline, they can be easily saved as JPG or FLV files.
With CS Review, you can apply password protection to your content, and assign roles to determine
who can create a new review, make and respond to comments, or just read comments. The ability
to set deadlines, track reviewer participation, and view comments as they are posted help you
further manage the review process.
umbnails included in the CS Review*
panel in Adobe Premiere Pro CS5
(above) let you visually correlate review
comments made in CS Review using a
web browser (right) with areas of a
video frame. When a comment is
selected in the Review panel, the
current time indicator (CTI) jumps to the
corresponding point in the timeline.
Note: e actual CS Review interface
may vary from what is pictured here.
* Adobe CS Live online services are complimentary for a limited time. See the last page for details and limitations related to all Adobe
online services.
Adobe CS Review will not be avail-
able for Adobe Premiere Pro CS5
when the soware initially ships.
Adobe Premiere Pro CS5 users
will automatically receive access
to CS Review integration when it
becomes available later in 2010.
11
Adobe Premiere Pro CS5 What’s New
Efficient production and tapeless camera support in Adobe OnLocation CS5
Adobe OnLocation CS5 provides an impressive array of production tools to help you shoot better
and faster while saving time and money, both on set and off. New support for tapeless cameras
extend the ways you can use OnLocation in your production workflows.
Spot problems in imported tapeless footage. Thanks to new tapeless camera support, you can
use the comprehensive software waveform monitor and vectorscope as well as the audio spectrum
analyzer in OnLocation to identify image and audio problems in imported files by quickly scanning
your footage for audio pops, clipping, and video overbrights.
Logging with tapeless cameras. Get all the benefits of real-time, on-set logging when working with
tapeless cameras. Simply tell OnLocation which shot is currently recording and then enter notes,
comments, and additional metadata into placeholder clips. Using timecode as a reference, OnLocation
automatically matches the information to the recorded clips when they are imported from the tapeless
media, regardless of whether the camera is tethered to OnLocation on-set or whether the clips are
imported during post-production.
Faster logging with Turbo Comments. While recording, the new Turbo Comments feature lets you add
frequently used wordscast names, sports highlights, and so onwith a single keystroke to log live
action accurately, consistently, and efficiently. OnLocation lets you store up to nine comments with
unique shortcuts, for immediate, timecode-accurate logging.
Comment markers are displayed in
the Field Monitor timeline.
e new Timestamp buon tells
OnLocation when the selected shot
is being recorded, whether or not the
camera is connected to OnLocation.
When tapeless media is imported,
OnLocation automatically matches the
information to the recorded clips.
e Shot List in the Project panel lets you keep track of
locations, In and Out point timecode, and other vital
information, comment on clips, describe and catalog each
shot, indicate camera moves, and automatically capture
information coming from the camera.
e new Media Browser panel displays the contents of your
computer drives. e Media Browser understands the
standard Panasonic P2 and Sony XDCAM directory structure,
so when you browse to a P2 directory, the Media Browser
displays only the importable shots/takes. Likewise, when
you navigate to an XDCAM directory, the Media Browser
displays the importable clips. is saves you from having to
search through the directory structure to nd the content
you want to import.
e Field Monitor displays DV, HDV,
and DVCPRO natively, so unlike your
camera’s viewnder or LCD screen, the
Field Monitor displays video
exactly as it is recorded.
e Vectorscope displays the amount
of color in the video signal for either the
full frame or for a single horizontal line
within a frame.
e Waveform Monitor operates in
YUV or RGB color spaces, so you can
evaluate brightness (luminance) and
saturation levels.
Audio level meters help you keep track of your audio
signal so it doesn’t distort, and pop alerts identify when
sudden surges occur that are too short to register on
meters.
12
Adobe Premiere Pro CS5 What’s New
Browsing tapeless content. The new Media Browser panel in Adobe OnLocation CS5 lets you
browse the contents of tapeless cameras without needing to understand camera file-naming
conventions. The Media Browser panel operates in the same way as in Adobe Premiere Pro,
displaying media clips along with their metadata and information specific to OnLocation, such
as take number, shot quality rating, and so on. Use the Media Browser panel to check the
contents of tapeless camera media without having to copy it to your hard drive or import
content into your OnLocation project. Direct browsing allows you to open up the content and
play it in the OnLocation Field Monitor. When you find the files you’re looking for, you can
quickly import them into your OnLocation project. As you play and scrub through your video
files in the Field Monitor, add In and Out points using the fast, intuitive OnLocation interface.
Export sub-projects with just the takes you want. Particularly useful when working on a long,
complicated shoot, OnLocation makes it easy to organize your media by splitting the project into
sub-projects. This also lets you pre-sort the clips in your projectwhen you’re ready to export clips
to Adobe Premiere Pro, with a few simple clicks you can create a sub-project that only includes the
takes that you select. Access the sub-project’s folder from the Media Browser panel in Adobe
Premiere Pro and import the clips. When dropped into a sequence, clips that include In and Out
points marked in OnLocation form a pre-edited rough cut. When you send your Onlocation project
directly to Adobe Premiere Pro, your assets retain the metadata captured from your Adobe Story
script, along with metadata created when you logged your clips during the live shoot.
Publish your OnLocation Shot Lists. Keep everyone up to date during production by
publishing your OnLocation Shot List. OnLocation creates a CSV file, and makes it simple to
control which Shot List items and particulars are included. This allows the information to be
viewed on a variety of software and devices, including the Apple iPod Touch and the Apple
iPhone, letting you easily distribute shot lists to crew members on or off set.
Other timesaving enhancements in Adobe OnLocation CS5 include the ability to:
• Import Adobe Story scripts, automatically capturing vital information as metadata to streamline
the creation of shot lists (see Script-to-Screen Workows on page 6 for details)
• Switch between Take- and Shot-recording modes using a dedicated control in the Shot List that
provides immediate visual conrmation of the current mode
• Organize the view in the Shot List to more effectively find what you’re looking for using a
number of improvements, including the ability to sort on any column and search based on
any metadata attribute
• Manage shots more eciently using options to break out scenes into multiple shots and camera
anglesOnLocation makes sure all appropriate metadata is transferred across to the new items,
and updates information where necessary
• Reconnect media les to items in the OnLocation project quickly and easily when le references
get broken
• Create more space in the OnLocation user interface by choosing from four thumbnail sizes
options in the Shot List
• Pick up where you le o more quickly with an option to reopen the last project automatically
every time you launch OnLocation
• Use keyboard entry to navigate and edit metadata quickly in the Shot List
• Find clips by sight more eciently by assigning a poster frame for each clip
About Adobe OnLocation
Shot- and Take-recording modes
Adobe OnLocation provides sepa-
rate recording modes that address
two dierent working styles:
• Shot-recording mode creates a
shot with entirely unique
metadata properties (such as Clip
Name, Location, and Scene)
• Take-recording mode creates a
take that inherits metadata
properties from the currently
selected shot
* e new Break Out Scene feature
allows you to quickly create
multiple duplicates of a given take
placeholder, and assign dierent
shot sizes to each duplicate
13
Adobe Premiere Pro CS5 What’s New
Ultra keyer
Chroma keying has typically been a tedious, time-consuming processone that Ultra, the
powerful high-performance keyer now included in Adobe Premiere Pro CS5 makes fast and
painless. Normally, when shooting footage to be keyed, you must evenly light the background
screen so it is a single, uniform shade of whatever color you are keying out of the scene. You must
also take care to eliminate color spillreflections of the background screen that “spill” back onto
actors and other objects. When manually adjusting your keys, fine detail around the edges of
objectsfor example, hairneed to be carefully identified so they can be separated from the
background in a believable manner. Using Ultra, you can achieve fast, accurate keying on even the
most challenging DV and HD footage. The GPU-accelerated Mercury Playback Engine dramatically
increases performance, usually resulting in real-time HD keying.
Designed to handle footage shot under real-world conditions that result in uneven lighting,
wrinkled backgrounds, and frizzy hairUltra preserves shadows and can achieve complex keys on
smoke, liquids, and transparent objects. Intuitive, easy-to-use controls make pulling accurate keys
a breeze.
About chroma keying
Chroma keying is the process of
selectively removing (“keying out”)
all of the pixels in an image that are a
particular color (“chroma”) and
replacing them with another image.
Television weather reports use
keying to make meteorologists
appear as if they are standing in front
of a weather map, when they are
actually standing in front of a blue-
or greenscreen.
Ultra, the new keyer in Adobe Premiere Pro, is
optimized to handle real-world greenscreen
conditions. Using simple, intuitive controls,
you can pull a high-quality key quickly.
Parameters can be animated to accommodate
changing conditions.
14
Adobe Premiere Pro CS5 What’s New
Streamlined encoding with revamped Adobe Media Encoder
With the explosive growth of video on the Internet, there’s been a massive shift in how people
consume video entertainment. Whether you produce instructional videos, trailers for your
independently produced films, or music videos for viewing online or on iPods, distribute your work
on YouTube, Vimeo, or Hulu, or output it to broadcast playout servers, being able to efficiently
deliver your content in a variety of formats is crucial. Adobe Media Encoder, a separate, 64-bit
software application included with Adobe Premiere Pro CS5, saves you time by streamlining the
process of creating multiple encoded versions of your source files and Adobe Premiere Pro
sequences. Adobe Media Encoder features a more intuitive user interface, providing more visual
feedback to help you work faster. Save time with the new ability to start the encoding process
directly from Adobe Premiere Pro without going to the batch list. Set up multiple items for batch
encoding, manage priorities, and control advanced settings for each item individually. Batch
encoding lets you use any combination of sequences and clips as sources and encode to a wide
variety of video formats, including FLV, F4V, Windows Media, QuickTime, and other popular codecs
such as MPEG-2, MPEG-4, H.264, andnew in Adobe Premiere Pro CS5AVC-Intra and DPX.
Adobe Media Encoder features
enhancements that streamline the
encoding process, including the
ability to:
• Get more visual feedback. e
Seings Summary dialog box
displays information about both
output and source footage, and
new tooltips summarize the
output seings for the selected
encoding preset or source assets.
• Automatically match TV Stan-
dard, Frame Rate, Field Order,
and Pixel Aspect Ratio properties
of source footage using a new
seing called Automatic. For
example, if the source is 1080p
footage at 24fps, Field order will
automatically be set to Progres-
sive. e Automatic seing
aects video output in H.264 Blu-ray Disc, MPEG-2–Blu-ray Disc, and MPEG-2–DVD formats.
• Set bit rate based on frame dimensions when outpuing footage to FLV, F4V, H.264 Blu-ray Disc,
and MPEG-2 Blu-ray Disc formats. Choosing Video > Bit Rate Level lets you set the output bit rate
to any value or to a value automatically determined by the frame dimensions of source footage.
• Change the frame rate, pixel aspect ratio, eld order, or alpha channel seings when importing
clips into Adobe Media Encoder using the Interpret Footage command.
• Add XMP cue points to the output le from metadata in FLV or F4V source les. A new preference
seing controls whether source cue points are used when invoking the Seings dialog box or
while encoding.
• Help ensure that content is output with the right metadata. Use templates in the Export Seings
dialog box to add essential details to media assets in a consistent manner, and to make certain
that only cleared-for-distribution metadata is included in your nal output.
• Save time by exporting media directly from Adobe Premiere Pro without rst adding it to the
Adobe Media Encoder queue. You can still add clips to the Adobe Media Encoder queue by
clicking Queue in the Export Seings dialog box in Adobe Premiere Pro.
Adobe Media Encoder now displays the video asset being transcoded. Notice
that in this encoding batch, a single source le is being output in a variety of
formats and resolutions for archival, web, broadcast, and mobile delivery.
15
Adobe Premiere Pro CS5 What’s New
Searchable web DVDs and other enhancements in Adobe Encore CS5
Adobe Encore CS5 software is a versatile, interactive authoring tool for video distribution that
allows you to deliver your projects beyond DVD and Blu-ray Disc. In a single operation, you
can easily turn your DVD and Blu-ray Disc projects into web DVDs that now include a search
interface. The new interface gives viewers a more engaging experience by enabling them to
search within a web DVD using keywords. During authoring, Encore automatically creates a
search database using metadata from speech-analysis text, subtitles in timelines and
slideshows, and menu and button names.
Adobe Encore CS5 automatically creates an interface that lets viewers search within a web DVD. Search results are displayed
across the boom of the screen.
Also new in Encore CS5 is the ability to:
• Further enhance the viewing experience by creating web DVDs with a sleek, customizable
playback interface that features easy-to-use playback controls and the option to watch HD video
in full-screen mode.
• Create a smoother experience for viewers when they choose from options across multiple menus
on Blu-ray Discs. Browsable multipage menus show options across multiple menu pages without
interrupting the playback of audio and video background elements. Multipage menus can be
easily created in Adobe Photoshop or directly in Encore.
• Working in the Adobe Premiere Pro timeline, you can take 4K projects directly to high-denition
Blu-ray Discs using a workow that maintains the original 4K content all the way to output, when
it is nally encoded and scaled. is capability is especially meaningful to video editors and
motion graphics and visual eects artists who work on projects at lm resolutions.
• Experienced Encore users will appreciate the ability to share Encore CS5 projects without
worrying about platform compatibility. Encore projects can be moved between Windows and
Mac platforms freely, without conversion. Editors and motion graphics and eects artists can
benet from native 24p project support for Blu-ray Disc, DVD, and web DVD titles, complete with
24p timecode in the timeline. (Previously, Encore placed all assets in timelines with a default
frame rate of 29.97, irrespective of the properties of the assets.)
• Continue authoring while you transcode your media assets. Adobe Media Encoder, a separate,
64-bit soware application, encodes your les in the background, freeing Encore to process your
authoring tasks. is separation of authoring and encoding is particularly important with 4K
workows, which can be taxing on your computer.
About web DVDs
Web DVDs replicate their DVD or
Blu-ray Disc counterparts online in a
web browser by including interactive
menus and subtitles, as well as pop-up
menus and (for those based on Blu-ray
Disc projects) high-resolution video.
16
Adobe Premiere Pro CS5 What’s New
Expand your creative options with the ability to choose the right encoder for the job without
sacrificing workflow efficiency. Use third-party encoders within the integrated Encore authoring
workflow and take advantage of the latest advancements in GPU-accelerated encoding.
When delivering your DVD and Blu-ray Disc projects to a replication facility, previous versions of
Encore required extra hardware to write your master to DLT (Digital Linear Tape). In Encore CS5, a
DDP (Disc Description Protocol) image can be directly exported to your computer’s hard disk and
electronically delivered to the replication facility using FTP. Delivery through electronic media is
faster, and doesn’t involve the extra hardware associated with DLT.
Still using Adobe Premiere Pro CS3?
For those still using Adobe Premiere Pro CS3, upgrading to Adobe Premiere Pro CS5 also gives you
the chance to catch up on all the great features added in Adobe Premiere Pro CS4. These include
tighter tool integration, support for more video formats, and workflow enhancements that
accelerate turnaround times, as well as the following:
• Batch encoding in the background. Save time with Adobe Media Encoder, a separate included
soware application that automates the process of creating multiple encoded versions of your
source les and sequences
• End-to-End metadata workow. For greater project intelligence, easily add metadata to clips
both on set with Adobe OnLocation soware and while editing using Adobe Premiere Pro
• Speech Search. Turn spoken dialogue into text-based, timecode-accurate, searchable metadata
• Dynamic workow with other Adobe tools. Using Dynamic Link, eliminate intermediate
rendering when moving sequences into Adobe Encore soware, and take advantage of new
support for Adobe Photoshop les with video and blend modes
• Industry-leading Blu-ray Disc authoring. Create high-denition Blu-ray Discs by using Encore,
working with the same interface used to create standard-denition DVDs and incorporating
advanced Blu-ray Disc features like pop-up menus, subtitles, and dual-layer burning
• Editing eciency. Apply eects to multiple selections, get timecode information faster, speed
work in the timeline with new keyboard shortcuts, and more
About Adobe Systems Incorporated
Adobe is the world’s leading provider of software solutions to create, manage, and deliver high-
impact, reliable digital content. For more information, visit www.adobe.com.
Beer media management with
Adobe Bridge CS5
Whether you are a video editor,
photographer, or cross-media
creative, you can manage your
content more eciently with these
new or enhanced features in
Bridge CS5:
• Centralized access to project les
and global seings, as well as to
XMP metadata tagging and
searching capabilities
• Flexible batch renaming, including
savable presets of regularly used
seings
• Faster navigation between open
folders with an improved Path bar
• Precise adjustment of the size and
quality of images in the Web Gallery
• A Publish panel with simple options
to output les to disc and upload
images to popular sharing sites
Adobe Systems Incorporated
345 Park Avenue
San Jose, CA 95110-2704
USA
www.adobe.com
Expected ship date
Second quarter 2010
For more information
Product details:
www.adobe.com/premiere
Adobe, the Adobe logo, Adobe Acrobat, Adobe OnLocation, Adobe Premiere, After Effects, Creative Suite, Encore, Flash, Flash Catalyst, Illustrator,
InDesign, Soundbooth, and Ultra are either registered trademarks or trademarks of Adobe Systems Incorporated in the United States and/or other
countries. AMD Athlon and AMD Phenom are trademarks or registered trademarks of Advanced Micro Devices, Inc. Apple, Mac, and Mac OS are
trademarks of Apple, Inc., registered in the U.S. and other countries. Intel, Intel Core, and Pentium are trademarks of Intel Corporation in the U.S. and
other countries. Microsoft, Windows, and Windows Vista are either trademarks or registered trademarks of Microsoft Corporation in the United States
and/or other countries. NVIDIA and CUDA are registered trademarks or trademarks of NVIDIA Corporation in the United States and/or other countries.
All other trademarks are the property of their respective owners.
© 2010 Adobe Systems Incorporated. All rights reserved. 3/10
Mac OS
• Multicore Intel® processor with 64-bit support
• Mac OS X v10.5.7 or v10.6.3; Mac OS X v10.6.3 required for
GPU-accelerated performance
• 2GB of RAM (4GB or more recommended)
• 10GB of available hard-disk space for installation; additional free
space required during installation (cannot install on a volume
that uses a case-sensitive le system or on removable ash-
based storage devices)
• 7200 RPM hard drive for editing compressed video formats;
RAID 0 for uncompressed
• 1280x900 display with OpenGL 2.0–compatible graphics card
• Adobe-certied GPU card for GPU-accelerated performance;
visit www.adobe.com/go/premiere_systemreqs for the latest
list of supported cards
• Core Audio–compatible sound card
• DVD-ROM drive compatible with dual-layer DVDs (SuperDrive
for burning DVDs; external Blu-ray burner for creating Blu-ray
Disc media)
• QuickTime 7.6.2 soware required for QuickTime features
• Broadband Internet connection required for online services*
Windows
• Intel® Core™2 Duo or AMD Phenom® II processor; 64-bit support
required
• 64-bit operating system required: Microso® Windows Vista®
Home Premium, Business, Ultimate, or Enterprise with Service
Pack 1 or Windows® 7
• 2GB of RAM (4GB or more recommended)
• 10GB of available hard-disk space for installation; additional free
space required during installation (cannot install on removable
ash-based storage devices)
• 7200 RPM hard drive for editing compressed video formats;
RAID 0 for uncompressed
• 1280x900 display with OpenGL 2.0-compatible graphics card
• Adobe-certied GPU card for GPU-accelerated performance;
visit www.adobe.com/go/premiere_systemreqs for the latest list
of supported cards
• Adobe-certied card for capture and export to tape for SD/HD
workows
• OHCI-compatible IEEE 1394 port for DV and HDV capture, export
to tape, and transmit to DV device
• Sound card compatible with ASIO protocol or Microso
Windows Driver Model
• DVD-ROM drive compatible with dual-layer DVDs (DVD+-R burner
for burning DVDs; Blu-ray burner for creating Blu-ray Disc media)
• QuickTime 7.6.2 soware required for QuickTime features
• Broadband Internet connection required for online services*
For updates to system requirements and more detailed information about video hardware compatibility, visit www.adobe.com/go/production_systemreqs.
System requirements
Adobe Premiere Pro CS5 and Adobe Encore CS5
Adobe OnLocation CS5
Windows
• Intel Pentium 4 or AMD Athlon® 64 processor (Intel Core™2 Duo
or AMD Phenom II recommended)
• Microso Windows XP (32 bit) with Service Pack 2 (Service Pack
3 recommended) or Windows 7
• 1GB of RAM
• 400MB of available hard-disk space for installation; additional
free space required during installation (cannot install on
removable ash-based storage devices)
• 5400 RPM hard drive for recording; 13GB of available hard-disk
space for each hour of recording
• 1280x900 display with DirectX 9.0c-compatible graphics card
• OHCI-compliant IEEE 1394 port for DV and HDV capture
• Sound card compatible with ASIO protocol or Microso
Windows Driver Model
• DVD-ROM drive
• Broadband Internet connection required for online services*
Mac OS
• Multicore Intel processor
• Mac OS X v10.5.7 or v10.6
• 1GB of RAM
• 400MB of available hard-disk space for installation; additional
free space required during installation (cannot install on a
volume that uses a case-sensitive le system or on removable
ash-based storage devices)
• 5400 RPM hard drive for recording; 13GB of available hard-disk
space for each hour of recording
• 1280x900 display with OpenGL 2.0-compatible graphics card
• Core Audio-compatible sound card
• DVD-ROM drive
• Broadband Internet connection required for online services*
* is product may allow you to extend its functionality by accessing certain features that are hosted online, including CS Live online
services (“Online Services”), provided you have a high-speed Internet connection. e Online Services, and some features thereof, may
not be available in all countries, languages, and/or currencies and may be discontinued in whole or in part without notice. Use of the
Online Services is governed by separate terms of use and by the Online Privacy Policy, and access to some services may require user
registration. Some Online Services, including services that are initially oered at no charge, may be subject to additional fees and require
a separate subscription. For more details and to review the applicable terms of use and Online Privacy Policy, visit www.adobe.com. For
more information about CS Live online services, see www.adobe.com/go/cslive.
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